:: electrically protoplasmic/i have fallen/firm yet giving/in spider attack ::
::| an.exquisite.corpse : discussion : 16 |::
Wow, some very nifty transitions, like "broken" between panel 1 and 2, and that, uh, whatever it is turning into Da Vinci's man drawing between panel 3 & 4, and the pointy knives coming into panel 2 from both sides!
russ at July 3, 2002 9:25 AM
wow. very nice. i like the consistency of the reds & yellows. and this may be the first corpse where i actually like the incorporation of text - "broken bruised forgotten aphrodisiac" sounds pretty cool, and it looks good too. and it looks like stuy walks the talk. excellent piece... and you've got to love the julie andrews echoed by the vitruvian man later on.
allen at July 3, 2002 9:32 AM
Very nice, the corpse just totally gels. I am amazed that all sections remained as busy as they did. Makes for a very consistant piece. The second and third panels...what can I say, Jesus' broken, bruised and forgotten heart needs an aphrodisiac. Heh!
Good Job Everyone!
Cherish at July 3, 2002 12:13 PM
Also, the carryover of the hidden face motief in the first and third panels is really impressive, along with the overt faces in panels 2 and 4. Fantastic.
Kevin Fox at July 3, 2002 1:50 PM
The unbroken "broken" has got to be the best transition ever. Every single panel is strong; you guys are fantabulous; thank you. I love the use of the screen in the left of the third panel; a very creative solution.
Sixtieslibber at July 3, 2002 4:44 PM
I like it but I wish the transitions would be better. I'm thankful I got Samantha's segment after she did it (from behind her back by a second party) or else the FOUR MONTH wait would have been painful.
But, overall, was it worth the wait? No. But I'd like to do more... and I'm glad my segment didn't clash horribly... But I think that is due to Samantha and her work which also doesn't follow the typical "lets stick some random persons face in my segment" crap (Sorry Meg, that was a good example, though).
Samantha == Rocks.
Tom == I was afraid he'd suck, but he did a good job and over all I like it.
Meg == Mentioned above, what is that badly face doing there? Take it out and it woulda been better. But don't take that offensively, I don't mean it like "OMG U SUCK"
I figure sense I am going on and on and on I might as well go on more:
Once again I will use Meg as an example but that face seems to be a good way to point out "putting things there for the sake of having them there." Hate to quote a movie but in Wonder Boys, Katie Holmes talks about writers have to make choices and it doesn't seem like some people are making choices... They're just tossing shit in.
I think it's called "Being Busy for the Sake Of Being Busy." That's what I'll call it anyway.
In my segment, I was going to stick a big clay hippie in it some where because, well, I figured I might as well be like the rest of the Corpsers and toss random crap in to make it look more busy and make more things for people to build off of...
And then I thought.. "But that is stupid and it looks like crap." So I took it out.
Actually, I didn't take it out. It's still there.
I'm happy that in all the segments, including Megs (despite the face), there is no occurance of "let's toss crap in" (and beisdes my purple "Worthless Protoplasm") Everything feels very... in place. Nothing seems like it sticks out and punches you in the face. (And being punched in the face is bad... Grabbing Attention == Good. Punching == Bad. Remember that).
Blah blah blah.
Thanks for the kind comment allen.
Stuy Parker at July 3, 2002 8:59 PM
Oh yeah and all the transitions suck. Don't know why I didn't say that.
Stuy Parker at July 3, 2002 9:00 PM
Wow... one ofthe best ever. I love the colours used.
Elf at July 4, 2002 10:48 AM
Hmm. The rest of it works, mostly, but I'm not keen on my bit at all now.
I think the main problem was that I felt as if I got the square root of bugger all to work with - the strip Tom passed to me was so incredibly busy and designed on the left, there was no way to segue out of it without it being a bad or jarring transition. So I tried to fade...
...and then photoshop crashed, and then *I* crashed, and then I finally got back to it.
The right side was better - as soon as I saw the thing on the right that Tom had passed on, I thought Universal Man would be a good fit, and the tiny little thing in the top right of his strip reminded me of mechanical spiders...or scaffolding on a big wheel. It was neither, but who knew?
The man's head is an interesting one. You say it looks plopped on randomly - I disagree. Or rather, it may *look* randomly plopped on, but I assure you it wasn't.
The Universal Man motif I decided upon for the right side was headless when I got him - the top wasn't on tom's segment - and the walking figure I created on the left out of the noise of the transition was also sort of faceless. I needed something to draw the eye on the left, and I wanted a face to humanise the segment a bit - it felt patterned, rather than designed, and that annoyed me. I actually spent a few days hunting for the right face, before "plopping it on". It may *look* random, but I can assure you it wasn't business for the sake of it. Belive me, if I was into throwing busy things at a segment, my job on this one would have felt a helluva lot easier.
In summary: I love segments two and three, especially, but mine still leaves me cold. It made sense when I submitted it, but it doesn't work with the other segments, and that annoys me. I think I've done (and seen) better on this site.
Meg at July 4, 2002 4:51 PM
Well, good. I didn't want to be the only dissenter. It's not a great corpse, in my opinion, with a whole lot of what looks like arbitrary collaging. Busyness for busyness sake, indeed, perhaps, and elements that don't cohere with other elements within the same panel, never mind the corpse as a whole.
But Meg, your universal man is a revelation as a solution for that part of the seam - one of the only things I like about this corpse. Plus I've seen you do phenomenal work - some of my favorite corpses contain your panels.
My bet is that it's the collective unconscious at work again. Everyone on the corpse affected everyone else - in that way, this corpse IS cohesive - the panels all containing the same level of "noise." Seems everyone who followed someone just did the best they could with what they had to work with.
mirla at July 4, 2002 11:55 PM
Stuy.......*hug*
I think you needed that.
~Samantha at July 10, 2002 8:46 AM
I love you Sam, will you marry me?
Stuy Parker at July 11, 2002 12:55 AM
hmm.... i am sorry but, no.
Lets not spoil the sex.
~Samantha at July 11, 2002 12:40 PM
this sucks. you guys should try restraint. or if your gonna make a mess, make a real fucking mess. not some poetic quasi chaotic mess.
at July 26, 2002 2:07 PM
The transition between 3 and 4 is cool. I mean really cool. As is the one between 1 and 2. And between 2 and 3; its not so seamless but the pointy knife is cool and the segment works.
patrickbeverley at February 16, 2005 12:27 PM
I've noticed something. The only person consistently insulting all these corpses and their creators is Stuy Parker. It rather spoils the good vibe you get from looking at a good corpse to have Stuy fucking Parker underneath saying "the artefacts are shit" or "i don't much like the transitions. It's like someone at a wedding, moaning about the quality of the cake. All it does is ruin the good atmosphere. People here are creating art for their own enjoyment and they don't need you, Stuy, telling them your oh-so-valuable opinion on their work. Where do you get off?
anonymous at February 17, 2005 4:13 AM
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An Exquisite Corpse is a collaborative experiment in the creation of visual art through the tapping of the collective unconscious...
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